metal wall and magnets for the purpose, and Austin Thomas has installed a sort of public studio where art- ists she selects can work in the gallery. The effect of all this is to emphasize the direct gesture and the proper- ties and possibilities of paper. Through July 24. (The Drawing Center, 35 Wooster St. 212-219-2166.) PHOTOGRAPHY LARRY FINK Vmtage black-and-white prints from Fink's "Social Graces" series, which was shown at the Museum of Modern Art in 1979 and secured Fink's reputation as a master of social-documentary photography. The pictures portray New York gallery openings, balls, and late nights at Studio 54 juxtaposed with birthday and graduation parties and an American Legion dance in rural Pennsylvania. The rich folk look a little bored and sometimes stoned out of their minds, and the farming family appears to be having a pretty good time, dirty fingernails and weight problems notwithstanding. Through July 23. (Ed- wynn Houk, 745 Fifth Ave. 212-688-4848.) JOSHUA LUTZ In his first solo show, Lutz takes the "New Topo- graphies" of Adams, Shore, and Sternfeld into the current era of urban sprawl. In one picture, mountains in the distance are squeezed out of view by the mina- rets, domes, and neon camels of Las Vegas's Sahara Casino. Crossed wires, scraggly trees, and a sad swing set add to the claustrophobia of a small-town Penn- sylvania subdivision. Some wide-open spaces are in- cluded-an abandoned palm-tree farm in California, a huge, bizarrely fenced-in cement foundation in West- chester County-but the extra room to roam is pre- sented with a relentless lack of sentimentality. Through Aug. 7. (Gitterman, 170 E. 75th St. 212-734-0868.) AUGUST SANDER This show, which complements the MetropolItan's current Sander retrospective, presents thirty-three of the photographer's portraits of women from his epic "Citizens of the Twentieth Century" project. They in- clude farm girls, a real-estate agent, an actress, circus performers, a group of well-dressed girls at a party, and a nun. "Rural Bride," in which a young, freckled woman with flowers in her hair blinks just as the shut- ter is released, and "Girl in a Circus Caravan," a por- trait of a sad-faced girl reaching through the window of a trailer door to unlatch it, are among his most emotionally affecting works. Through July 9. (Yancey Richardson, 535 22nd St. 646-230-9610.) EZRA STOLLER A small show (eleven black-and-white prints) of work by the master photographer of modernist architecture. Stoller, who was trained as an archi- tect, began photographing buildings in the thirties. The pictures here, which were taken between 1949 and 1977, include dramatic, stark views of Eero Saarinen's T. A. Terminal atJFK, Mies van der Rohe's buildings at the Illinois Institute of Technology, in Chicago, Frank Lloyd Wright's Johnson Wax Tower, and Louis Kahn's Salk Insti- tute, in La Jolla. Stoller emphasizes pure shapes. There are just a few people in the pictures, and sometimes a strategically placed car. The buildings look the way the architects meant them to. Through July 30. (Henry Urbach Architecture, 526 26th St. 212-627-0974.) INTERNATIONAL CENTER OF PHOTOGRAPHY I ASIA SOCIETY A show of recent photography and videos from China, "Between Past and Future," fills both muse- ums with a hundred and thirty works by sixty young artists. The incredibly fast transformation of Chinese society is the central theme. Riffing on traditional Chinese scroll painting, Wang Qingsong places an of- ficially denounced art critic at the center of his up- dating of the "Night Revels of Lao Li," from the tenth century. Wang Wei backlights a long line of color transparencies placed on the floor, portraits of himself underwater, forcing the viewer to walk across his face. Liu Zheng's black-and-white portraits of women mourning at a country funeral and masked revellers at a New Year's Eve party elegantly evoke the stark contrasts in the new China. Sze Tsung Leong's large color prints showing demolished tradi- 26 THE NEW YOR.KER., JULY 12 & 19, 2004 tional architecture are sad reflections on the country's manic race to build. Through Sept. 4. (International Center of Photography, 1133 Sixth Ave. 212-857- 0000; Asia Society, 725 Park Ave. 212-288-6400.) Short List RUVEN AFANADOR Throckmorton, 145 E. 57th St. 212-223-1059. Through July 31. WEEGEE Ubu Gallery, 416 E. 59th St. 212-753-4444. Through July 23. "GOVERNORS ISLAND" Urban Center, 457 Madison Ave. 212-935-3960. Through July 8. CLASSICAL MUSIC CONCERTS IN TOWN NEW YORI< PHILHAR ONIC CONCERTS IN THE PARKS Two personalities dominate this summer's round of free concerts: David Robertson, the energetic Amer- ican conductor who's been all but anointed by the POP NOTES SU ER SHORTS Stan Ridgway has been turnIng out distinctive noirish rock and roll since the late seventies, first as a member of the group Wall of Voodoo and then as a solo artist. Snakebite (Redfly) is among the better outings of his long, off-kilter career. In six- teen songs, Ridgway blends together rock, jazz, and blues in the service of his always strange, but never frivolous, storytelling. Over the years, his songwriting has become more personal, and, in addition to intimately narrated songs like "Our Manhattan Moment" and "Wake Up Sally (The Cops Are Here)," there's "Talkin' Wall of Voodoo Blues, Pt. 1," a rollicking retelling of the rise and fall of his former band. When John Wesley Harding's writing isn't at its strongest, he can seem derivative and superflu- ous, like a less self-important version of Elvis Costello. But Adam's Apple (DRT), Harding's tenth studio album, is one of his best, a sharp collection of pop compositions that cleverly weds sunny melodies to dark matters. "It Stays" is a heartbreaking love story, "Sluts" is a self-lacerating look at promis- cuity, and "Sussex Ghost Story" brings the murder ballad into the modern day. Only "Protest Protest Protest," a bouncy essay about the differences be- tween activism in the sixties and the present, breaks the flow: it would have been better as a B- side-or, as is the fashion these days, an iTunes- only single. Alejandro Escovedo, the Austin-based singer- songwriter who has family throughout the music world-he is related to Pete Escovedo, who played with Santana, and to the former Prince drummer Sheila E.-has released a decade's worth of metic- ulously observed alternative-country records. Last year, Escovedo developed advanced cirrhosis of the liver from hepatitis C. He had no insurance, and medical costs quickly became unmanagable. Por Vida (Or Music), a two-disk record whose pro- ceeds will help pay for treatment, enlists a wide range of performers to sing Escovedo's songs, in- cluding Lucinda Williams, Lenny Kaye, Jennifer Warnes, John Cale, and Calexico. Escovedo's strong voice as a songwriter keeps the proceedings con- sistently lyrical, wistful, and occasionally (as in contributions from Los Lonely Boys and Ian Hunter) exuberant. -Ben Greenman Philharmonic as a successor to Lorin Maazel, and Leonidas Kavakos, a fiery but introspective Greek violinist whose career finally seems to be taking off. They collaborate in three programs, the first of which features music by Ives, Barber (the Violin Concerto), and Adams (the grand and gritty "Har- monielehre," one of the signature orchestral works of the nineteen-eighties). (Prospect Park, Brooklyn. July 13. + Great Lawn, Central Park. July 14. + Cunningham Park, Queens. July 15. + Van Cort- landt Park, the Bronx. July 16.) + Mendelssohn's Vì- olin Concerto, Debussy's "Nuages" and "Fêtes," from the "Nocturnes," and Strauss's "Also Sprach Zarathustra." (Heckscher State Park, East Islip, Long Island. July 17.) + Kavakos repeats the Men- delssohn on the final program, which also fea- tures works by Smetana and Rimsky-Korsakov ("Scheherazade"). (Great Lawn, Central Park. July 19.) (All concerts begin at 8, followed by fireworks. No tickets required. For further information, call 212-875-5709.) BARGE USIC July 10 at 7:30 and July 11 at 4: The violinist Mark Peskanov, the cellist Semyon Fridman, and the pia- nist Paul Ostrovsky perform all three of Beethoven's Ope 1 Piano Trios. + July 15-17 at 7:30 and July 18 at 4: Chamber Domaine, a plucky young group from London that débuted at the barge last summer, returns with music by Schumann-the Piano Quar- tet and the Piano Quintet, each played twice, which form the foundation for four concerts featuring works by Pärt, Mozart, Birtwistle (the American première of the "Niedecker Songs"), and others. (Fulton Ferry Landing, Brooklvn. 718-624-2083. For details, see www.bargemusic.org.) INTERNATIONAL KEYBOARD INSTITUTE AND FESTIVAL July 16 at 8: Schumann's "Papillons" is the starting block for the daring Marc-André Hamelin, whose concert ranges off into Liszt's "Dante" Sonata and two big sonatas (Op. 110 and Ope 111) by Beetho- ven. + July 17 at 3: Jay Gottlieb offers a lecture- concert focussing on new works by Lindberg, Jolas, Ruders ("Event Horizon"), and others. + July 17 at 8: The indefatigable Earl Wild performs sonatas by Haydn and Beethoven along with salon-style dazzlers by Respighi, d' Albert, and Moszkowski; he returns for a master class at 2 on the following day. (Mannes College of Music, 150 85th St. 212-580-0210, ext. 336. For a full schedule, see www.ikif.org.) OUT OF TOWN CARA OOR FESTIVAL July 8 at 7:30: The pianist Michael Boriskin's Music from Copland House ensemble, based at the com- poser's longtime residence in Peekskill, performs works by other Westchester luminaries (Barber's "Dover Beach," Griffes's "Poem for Flute and Piano"), along with more recent works by Tower and Bermel and Copland's own Sextet. . July 9 at 8: Mi- chael Barrett, the conductor-pianist newly installed as the festival's general director, joins up with his old col- league Steven Blier for a New York Festival of Song concert of "Spanish Love Songs," which will feature the mezzo-soprano Lorraine Hunt Lieberson and the tenor Joseph Kaiser in songs by Wolf, Schumann, Turina, and others. + July 10 at 8: Will Crutchfield has chosen Gluck's "Paride ed Elena" -that's Paris and Helen to you-as this summer's big bel-canto re- discovery; like the far better known "Orfeo ed Eu- ridice," it's one of the crucial works with which the composer transformed the Baroque opera style. Crutchfield conducts the Orchestra of St. Luke's and a cast headed by the mezzo-soprano Kristina Szabó and the soprano Amanda Borst. + July 17 at 8: The orchestra returns for a concert of Beethoven (includ- ing the Symphony No.7) and Brahms (the Violin Concerto, with Joshua Bell), conducted by Donald Runnicles. (Katonah, N.\: 914-232-1252. For a full schedule, see www.caramoor.org.) TANGLEWOOD Boston's musical duchy gets into full swing; some higWights follow. July 8 at 8:30: The Juilliard String Quartet, graying but forceful, performs an evening